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quotes the definitions of Bharata, without saying a word about the first eleven types of Rūpakas. Hemachandra's twelfth Rūpaka, Sattaka is derived from Bhoja.220 But in some other works the additional types are given as Nātikā and Prakaraņi. Abhinava considers Nātikā, Toțaka, Rāsaka, Prakaraņikā etc. as sub-species. or Aväntaraprapanca of the Dasarūpaka. But it is obvious that Nātikā leaned more towards the Nāțaka, while Prakaraṇikā towards the Prakarņa. "And Bhoja's śr. Pr. is the first work we now have from which we get the definition of Sattaka," as Dr. Raghavan concludes. Abhinava mentions the Sattaka. and gives the Karpūramañjari, in Prakrit, as an example, saying "Śrngārarase sātiśayopayogini Prākṣtabhāṣā iti Satsakah karpūramañjaryākhyāḥ rājusekhareņa tanmātrā eva nibaddhāh.' Rājasekhara himself says in the prologue of the play that. Sattaka is similar in all respects to the Nātikā but is devoid. of Pravesaka and Viskambhaka.
Hemachandra Avoids the Controversy
Hemachandra reproduce's Bhoja's Āryā on Sattaka with the reading 'Aprākstasamskặtayā', which goes against the prevalent notion that the sațţaka is entirely in Prakrit. It may be taken to mean that the Sattaka was neither in Sanskrit nor in the (literary) Prakṣta. However, Dr. Raghavan smends it to "Aprākṣta-(prākṣtayā) saṁskrtaya". But Sattaka itself is called sattaya in Prakrit and the form Sāļaka also occurs. Besides, the Matyadarpaņa gives it as Sāțaka while Vādijanghāla calls. it Sattikā. Hemachandra does not enter into the controversy but quotes Bhoja's Āryā here and observes in the Viveka. (p. 445) that like in a Nātikā, in the Sattaka too, the lovetheme is invented.
Thus, it is possible to state that Hemachandra, like the Dasarūpakakāra, the Avalokakāra and Bhoja, classified dramatic performances into those depicting a complete theme and a complete Rasa with other subsidiary Rasas and those depicting, only a Bhāva of a Rasa.2 21.
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